IOH is their most emotional release yet and also their most philosophical.

This is accessible, song-based contemporary jazz at its most earnest, ordered and empowering.

A sassy self-overhaul, AM issues lubricious R&B come-ons over a self-assured narrative arc with personality and open potential cannily spliced.

Liars revel in keeping their listeners on edge and entertained making Mess their most wickedly enjoyable album yet.

There are enough album tracks and B-sides to make the case that what we actually had in 10cc was a British Steely Dan: clever, funny and funky as hell when they wanted to be.

[Tales from Terra Firm] ought to be the one that separates the Oxford quartet from the indie-folk bandwagon and kicks them a few steps up the ladder to being Mumfords-sized.

It may not be for everyone, but it's evidence that there are still some restless minds out there.

Even if [Psychedelic Pill is not essential], it's by some way the best non-essential album Neil Young has ever made.

Memphis is a late-night delight.

There's no progression or narrative, it's immersive rather than engrossing. Slow Focus is an album to steep yourself in.

There’s something artificial and experimental in the project’s very DNA, but that need not be a bad thing, and it isn’t.

Arrangements are simple, bluegrass-inflected and rich in acoustic textures. Warm and thick as a hayrick.

Tough, soulful, rockin' songs.

A hitherto only-hinted-at humour (try "UK Blues") punctuates this hypnotic and haunting glimpse into an imperial isolation.

Ageing is a war they can’t win, but by facing it head-on, the Manics have found the spur to move forwards.

It's rather fine.

Expect more straightforward, big-vocal, soul-funk numbers, and fewer immediate hits. But compared with most R&B records, Monae is still lightyears ahead.

Not a perfect debut, but one that leaves you with the feeling that we're dealing with a living, thinking artist here, not just another Brit School waxwork.

Proper, stop-you-in-your-tracks talent with the occasional song to match.

The intricate interweaving of guitar and ngoni juxtaposed with the bright, clear backing vocals makes for a sound that’s dynamic and assertive.

Effortlessly mixing traditional instrumentation with samples, this varied yet cohesive album has an angular funkiness and a soulful pop edge.

It's testament to his songcraft that it feels all of a piece.

A mature, reflective, intelligent, Americana-inflected [album].

It is a near-total triumph.

Songwriter/producer Sergio Pizzorno opted for a more slimmed-down sound, stripping away layers of sound to allow the ideas to speak more clearly.... It’s a brave but largely successful move, as is the shift from mainly guitar-riff-based songs to ones predominantly fuelled by synthesisers.

Sweetly soaring stuff.

You can almost hear the chickens out in the yard and see the dust mites dancing in the sunlit air.

Turn Blue’s stealth seduction suggests this much: their wrong-footing instincts should keep them on the right track.